How backstory and direct address reformulate the Shakespearean character on television: The case of the missing psychological motivation for House of Cards’ Frank Underwood

This article delves into narrative elements of direct address and backstory in television, focusing on House of Cards (2012–19), Shakespeare’s Richard III and Game of Thrones (2011–19). Comparing dramaturgical approaches in stage plays and TV series, the study highlights House of Cards’ unique incorporation of a pragmatic use of the direct address to create ‘world-view’ for character exploration. The analysis extends to Game of Thrones, emphasizing Tyrion Lannister’s self-descriptive addresses revealing a psychological struggle rooted in rejection and backstory. The article proposes a methodological framework linking first lines or direct addresses to character backstories, emphasizing the role of self-descriptive asides in character creation. It introduces the concept of a ‘psychological motivational arc’ within character arcs, exploring how direct addresses contribute to nonlinear character development. Concluding with an in-depth examination of House of Cards’ Frank Underwood, it scrutinizes Willimon’s ‘show, don’t tell’ approach, questioning its potential limitations on character depth and challenging traditional screenwriting advice. The analysis unravels the interplay between direct address, backstory, and character development in television series, offering insights into evolving narrative techniques and their implications for contemporary screenwriting.